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By Efe Egilmez

Description:

Though it is a reproduction, I have delibarately tried to keep to the original design of tiles best at 8in x 8.03in, 239 pixels/inch, Basic

During the reign of Suleiman the Magnificent (1520-1566), there was an incredible flowering – literally – of artistry in the "Nakkashane", the imperial painting studio, credited to Sahkulu and later pupil Kara Memis, who was responsible for the new naturalistic painting style which incorporated spring flowers, such as tulips, carnations, roses and hyacinths. The embroidered cover above, part of last year’s The Sultan’s Garden exhibition at The Textile Museum is such an example.
Stylized versions of these flowers grew out of the more naturalistic designs and both were adopted by artists and artisans in other fields including the weavers and the potters (which we will hear more about later this week). Ottoman textiles were greatly admired and collected by Europeans, and as this post will show, that has not really changed. And while the fan-shaped carnations became standardized and somewhat formulaic, it is that very simplistic repetition that makes them read as modern today.
During the 1540s, the color palette of Iznik ceramics was distinctly enriched with a green ranging from sage to olive (probably introduced in the 1530s), and a manganese oxide-based aubergine mauve. This period is still sometimes referred to as the “Damascus phase” as this color scheme is similar to that found in tiles and vessels produced in Damascus in the Ottoman era. During this first polychrome phase the influence of the saz drawings is more clearly discernible.
Developed by Sahkulu, a designer native to Tabriz and in the court’s employ since 1525, this style found its finest expression in ink drawings showing exuberant vegetal compositions that include composite flowers and highly intricate versions of the lotus blossoms and peonies of Chinese art, associated with long serrated leaves known as hançeri as their long curve is reminiscent of a dagger (hançer in Turkish). Tulips, carnations, hyacinths, and violets, highly prized by the Ottoman elite with a passion for horticulture, are gradually used to enrich saz compositions.
Reference: --
- http://www.tokyojinja.com/2014/01/28/carnation-fixation-ottoman-inspired-textiles/
- http://mini-site.louvre.fr/trois-empires/en/ceramiques-ottomanes.php